Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mongolia and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Johannesburg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing the Association to the grime kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Quando Quango. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
the Bar-Kays,
Second Layer,
Neu!,
Godley & Creme,
Lungfish,
Amon Düül,
Trumans Water,
Boogie Down Productions,
Circle Jerks,
Drive Like Jehu,
The Slits,
The Monks,
Soft Cell,
Bootsy Collins,
Television,
Stockholm Monsters,
Yazoo,
Sällskapet,
Andrew Hill,
DeepChord presents Echospace,
Bauhaus,
Smog,
The Saints,
Deadbeat,
Theoretical Girls,
Scratch Acid,
The Gun Club,
Skarface,
Yaz,
The Mummies,
Silicon Teens,
This Heat,
Lyres,
Panda Bear,
Lee Hazlewood,
Beasts of Bourbon,
Country Joe & The Fish,
Nico,
Terry Callier,
Grandmaster Flash,
The Move,
Aaron Thompson,
R.M.O.,
Cal Tjader,
Kayak,
Roxette,
Kevin Saunderson,
Zapp,
Susan Cadogan,
Au Pairs,
EPMD,
The Trojans,
Alison Limerick,
Crooked Eye,
Public Image Ltd.,
Nick Cave & The Bad Seeds,
Kerrie Biddell,
Dead Boys,
Roy Ayers Ubiquity,
Rahsaan Roland Kirk,
Don Cherry,
Siglo XX,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.